- Michael Tippett
- Nimrod
- Trevor Duncan: Maestro Variations
- Rosemary Tuck
- Sommerrefektorium
- Kristine Opolais
- Filippo Acciaiuoli
- Ernst Reijseger
A Labour of Love by All Concerned
GERALD FENECH is impressed with music by Sweelinck played on recorders
'The Royal Wind Music, a flute consort of Renaissance recorders of all pitches, are a constant delight throughout ...'
Jan Pieterszoon Sweelinck (1562-1621) was a Dutch composer, organist and teacher, whose contributions to music in the late Renaissance and early Baroque periods were significant. He is often hailed as the 'Orpheus of Amsterdam' for his profound impact on the musical landscape of his time. Sweelinck was born in Deventer, Holland, in April or May 1562. He came from a musical family; his father, Peter, was an organist and he was responsible for starting his young boy on the musical trail. The family moved to Amsterdam when Sweelinck was a child and it was there that his father became the organist at the Oude Kerk (Old Church).
Following his father's death in 1573, Sweelinck took over the position that was his father's and he retained this role for his entire career. The composer's tenure at the Oude Kerk lasted over forty-four years (1577-1621). His primary duties involved organ playing for city functions and teaching. Although the Reformed Church in Amsterdam did not use organ music during services, Sweelinck's performances were appreciated during other times, such as before and after services and for special civic events.
Sweelinck was an acclaimed virtuoso and a highly sought-after teacher. He attracted pupils from across Europe, notably from Germany, contributing to the dissemination of his style and techniques. His teaching laid the groundwork for the North German organ school, profoundly influencing composers such as Samuel Scheidt, Heinrich Scheidemann and Jacob Praetorius.
Sweelinck's compositional output was prolific and varied, encompassing vocal and instrumental music. His works reflect a synthesis of styles, including the Italian madrigalists and the English keyboard composers. His versatility and innovative spirit are evident in his works for both keyboard and vocal ensembles. Sweelinck's keyboard music, particularly for the organ and harpsichord, is highly regarded. His compositions include fantasias, toccatas, echo fantasies and chorale variations. These works demonstrate his mastery of counterpoint and his ability to explore and expand the expressive capabilities of keyboard instruments.
His technique of imitative counterpoint and variation form had a lasting impact on the development of keyboard music in the Baroque era. His vocal music is considered more conservative than his keyboard works but, in spite of this difference, his vocal pieces show a striking rhythmic complexity and an unusual richness of contrapuntal devices. It seems that Sweelinck was very fond of the voice because his compositions in this genre include psalm settings, motets and chansons. His psalm settings in particular show his ability to merge intricate polyphony with expressive text setting, a hallmark of the Calvinist tradition. His motets and chansons exhibit the influence of the Franco-Flemish school, with their elaborate counterpoint and sensitivity to textual expression.
Sweelinck's legacy is enduring. As a teacher he played a pivotal role in shaping the next generation of composers, particularly in the German Baroque tradition. His students carried forward his techniques and stylistic innovations, ensuring his influence extended well beyond his lifetime. Sweelinck's music continues to be performed and studied, revered for its technical brilliance and expressive depth.
Sweelinck died on 16 October 1621 in Amsterdam, leaving behind a rich musical heritage. His contributions to the development of keyboard music and his role in the evolution of early Baroque styles underscore his importance in the history of Western music. Through his works and his students Jan Pieterszoon Sweelinck secured his place as one of the most significant composers of his time.
The person responsible for this project, Hester Groenleer, has structured the programme in such a way that all of Sweelinck's musical variety is kept in focus throughout. The Royal Wind Music, a flute consort of Renaissance recorders of all pitches, are a constant delight throughout.
Listen — Sweelinck: Variations on Ballo di Granduca
(PC-10462 track 1, 0:01-0:51) ℗ 2024 note 1 music gmbh :
In their choice of four programme sections the musicians contrast a vocal work and an organ work by Sweelinck with variation pieces by the composer himself or two new compositions written especially for this programme and the ensemble.
Listen — Aspasia Nasopoulou: Fantasy Dans voor Orpheus van Amsterdam
(PC-10462 track 3, 0:35-1:33) ℗ 2024 note 1 music gmbh :
This is a labour of love by all concerned, where the music is delivered with emotional sensitivity and soothing warmth.
Listen — Sweelinck: Fantasia d1 'Crommatica'
(PC-10462 track 12, 7:07-8:06) ℗ 2024 note 1 music gmbh :
Hopefully this gem of an issue will reignite fresh interest in the music of a truly great composer, whose stock has been neglected for far too long. Sonics and presentation are first rate.
Copyright © 13 November 2024
Gerald Fenech,
Gzira, Malta
